Appendix: Biographical Information of Artists Interviewed for the Project

© The Editor(s) (if applicable) and The Author(s), 175 under exclusive license to Springer Nature Switzerland AG 2019 M.-S. Song, Hanguk Hip Hop, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-15697-8 176 APPENDIX: BIOGRAPHICAL INFORMATION … Year of Year debut 2007 2008 2012 2002 2007 2001 2006 2009 1999 2012 2008 1998 2002 2000 1998 Introduction to hip hop (Song / Artist) Taiji and Boys, Deux / All Eyez on The Marshall Mathers LP Me by Tupac, by Dynamic Duo, Dynamic Duo, Verbal , Wu-Tang Clan, Tupac Cypress Hill, Wu-Tang Tupac, The Notorious B.I.G., Tupac, NWA “I’ll Be Missing You” by Puff “I’ll Be Missing You” Clan, Mobb Wu-Tang Daddy, Deep “” by Joosuc, T.I. Tupac, , MC Hammer, Naughty By Nature, MC Hammer, Marky Mark and the Funky Bunch “Doo Rags” by Dynamic Duo, The Quiett , Deux / Cypress Seo Taiji Hill Cho PD, Seo Taiji and Boys, Hyun Jinyoung, Seo Taiji Deux Licensed to Ill by Introduction to hip hop (Year) 1992– 1993 / 2000 1995 2009 Late teenage years 1997 1998 2006 Sixth grade Ninth grade 2005 1992 / 1995 1998 1992 1988 Experience of living abroad Y Y N Y Y N Y N Y N Y N Y Y Place of birth New Zealand Busan Seoul Ansan Gangwon-do Jeongseon Gohan-eup Seoul Seoul Seoul Seoul Busan Korea Year of Year birth 1986 1987 1993 1980 1986 1981 1985 1994 1980 1989 1989 1981 1984 1980 1979 Gender M M M M M M M M M M M M M M M Artist Beenzino BewhY Boobagraphy Born Chaboom Choiza Code Kunst Crucial Star Deegie Deepfow DJ Son DJ Soulscape APPENDIX: BIOGRAPHICAL INFORMATION … 177 Year of Year debut 1998 2005 2010 2001 2001 1999 2007 2001 2001 2004 Tenth Tenth grade 2008 2002 2014 1999–2000 (continued) Introduction to hip hop (Song / Album Artist) Music videos that were aired on the AFKN segment “Video Link” Nas Eminem by Shaquille O’Neal Black Sunday by Cypress Hill Naughty By Nature, MC Hammer, Naughty By Nature, MC Hammer, Marky Mark and the Funky Bunch MC Sniper, Baechigi MC Sniper, and Boys, Deux / Cho Seo Taiji 1999 PD, Drunken Tiger, Daehanminguk Seo Taiji and Boys, Hyun Seo Taiji Dre Clan, Dr. Jinyoung / Wu-Tang Cypress Hill Cho PD, Jinusean Korean hip hop Nelly, Ying Yang Twins Ying Yang Nelly, Wu-Tang Clan Wu-Tang by Dr. Dre The Chronic by Dr. Wu-Tang Clan, Tupac, The Clan, Tupac, Wu-Tang Notorious B.I.G. Introduction to hip hop (Year) Tenth grade Tenth Early childhood 2002 1993 1998 Sixth grade 2011 1992 / 1999 1992 / 1997 1994 1998 Seventh grade Late elementary school years 1999 2002 1996 Experience of living abroad N N Y Y N Y N N Y N Y Y N Place of birth Gyeongju Suwon Seoul Gwangmyeong Seoul Seoul Seongnam Seoul Seoul Seoul USA Seoul Year of Year birth 1974 1990 1988 1982 1985 1981 1995 1984 1982 1982 1984 1985 1989 1980 1986 1983 Gender M M M M M M M M M M M M F M F M Artist DJ Wreckx Don Mills Double K Fana Hash Swan Huckleberry P Ignito Illinit Jerry.k JJK Jolly V Junggigo Kayon Kebee 178 APPENDIX: BIOGRAPHICAL INFORMATION … Year of Year debut 2008 1999 1998 1998 2013 Tenth Tenth grade 1999 2003 2002 2008 2013 Introduction to hip hop (Song / Album Artist) Missy Elliott, Compilation album called 2 Nasty 4 Radio Something on AFKN radio which he cannot recall the name of “” by Naughty by Nature “Somunui Geori” by Garion, YDG, Leessang, Dynamic Duo / “Hip Hop is Dead” by Nas Wu-Tang Clan, Jay-Z, Garion, Wu-Tang Joosuc “I’ll Be Missing You” by Puff “I’ll Be Missing You” Kweli, Madlib Talib Tupac, Daddy, “Make Em Say Uhh” by Master P “Fly” by , Garion, Nas, Jay-Z Introduction to hip hop (Year) Age 20 2005 Age 13 1988 2004 / 2006 Fifth, sixth grade Ninth grade Elementary school years 1997 2006 Experience of living abroad Y N N N N Y N Y Place of birth Nurnberg, Germany Daegu Paju Anyang Seoul Seoul Pohang Cincinnati, Ohio, USA Seoul Year of Year birth 1993 1991 1980 1971 1977 1991 1996 1979 1984 1985 1985 1994 Gender M F M M M F M M M M M M Artist Keem Hyo Eun Lil Cham Maniac MC Meta Naachal Nada Olltii P-Type Pento Pinnacle TheHustler Rap Monster (now known as RM) (continued) Table APPENDIX: BIOGRAPHICAL INFORMATION … 179 Year of Year debut 2010 2007 2005 2003 2001 1995 2000 2010 2010 Introduction to hip hop (Song / Album Artist) DMX and Boys Seo Taiji “I’ll Be Missing You” by P “I’ll Be Missing You” Diddy / “Nu Skool” by Double K Seo Taiji and Boys / Dr. Dre, and Boys / Dr. Seo Taiji Nas, Wu-Tang Eminem, Tupac, Clan, Notorious B.I.G., Cho PD, Leessang, Garion Drunken Tiger, Illmatic by Nas No Way Out by Puff Daddy No Way MC Hammer, Kriss MC Hammer, Kross / “Hypnotize” by The Notorious B.I.G. Drunken Tiger, CB Mass, Epik Drunken Tiger, High, Nas, Jay-Z Eminem, 50 Cent / Numyeong by Jint, New Blood Rapper Vol. Verbal 1 by E-Sens Introduction to hip hop (Year) Seventh grade 1994 2000 / 2004 1992 / 2002 1994 1999 Elementary school years Early 1990s / 1997 High school years Fourth grade / Ninth grade Experience of living abroad Y Y N N Y N Y Y Y Y Place of birth Bucheon Incheon Bupyeong Geoje-do Okpo Seoul Anyang Korea Ilsan Seoul Year of Year birth 1986 1985 1991 1983 1980 1985 1974 1980 1989 1992 Gender M M F M M M M M M M Artist Row Digga Sleeq Sool The Quiett Tiger JK Vasco (now Vasco known as Bill Stax) Wutan 180 APPENDIX: BIOGRAPHICAL INFORMATION …

This table documents the artists who participated in life timeline interviews. I use the term “artist” loosely to encompass many profes- sions within the scene from rapper and DJ to hip hop photographer and album art director. Those who engaged in informal interviews have not been included in this table. Information that was not offcially provided during the interviews has been left blank. A simple internet search may very well provide this information. With regard to ’s “introduction to hip hop,” this does not necessarily correspond to the very frst hip hop song, album, or that the individual heard. Rather, it marks the frst memorable and/or infuential encounter with hip hop. Some artists distinguished the moments from when they frst heard American hip hop with Korean hip hop and vice versa. What counts as “debut” differed for each artist. While some saw their frst stage performance as their offcial debut, others considered their frst featured track, single, mixtape, EP or LP release as their debut. The years recorded here should not be taken as a unifed method of verifying one’s debut. Rather, the years should work to illustrate a general fow and trajectory in the start of one’s career. The Korean education system consists of six years of elementary school (frst to sixth grade); three years of middle school (seventh to ninth grade); and three years of high school (tenth to twelfth grade). Early elementary school years are from frst to third grade, while late elementary school years are from fourth to sixth grade. Bibliography

Abelmann, N. (2003). The melodrama of mobility: Women, talk, and class in con- temporary . Honolulu: University of Hawaii Press. Abelmann, N., Park, S., & Kim, H. (2013). On their own: Becoming cosmo- politan subjects beyond college in South Korea. In A. Anagnost, A. Arai, & H. Ren (Eds.), Global futures in East Asia: Youth, nation, and the new economy in uncertain times. Stanford: Stanford University Press. Abowitz, K. K. (1997). Horatio Alger and hip hop. Review of Education, Pedagogy, and Cultural Studies, 19(4), 409–425. Ahn, J.-H. (2014). Rearticulating black mixed-race in the era of globalization. Cultural Studies, 28(3), 391–417. Ahn, Y.-r. (2009). Club culture as cultural text: Textual structure of Hongdae club culture and cultural practice. Visual Cultures, 14, 287–335. Alim, H. S., Ibrahim, A., & Pennycook, A. (Eds.). (2008). Global linguistic fows: Hip hop cultures, youth identities, and the politics of language. New York: Routledge. Appadurai, A. (1996). Modernity at large: Cultural dimensions of globalization. Minneapolis: University of Minnesota Press. Balaji, M. (2010). Vixen resistin’: Redefning black womanhood in hip-hop music videos. Journal of Black Studies, 41(1), 5–20. Banet-Weiser, S. (2012). Authentic: The politics of ambivalence in a brand cul- ture. New York: New York University Press. Banet-Weiser, S., & Mukherjee, R. (Eds.). (2012). Commodity activism: Cultural resistance in neoliberal times. New York: New York University Press. Becker, H. (1982). Art worlds. Berkeley and : University of Press.

© The Editor(s) (if applicable) and The Author(s), 181 under exclusive license to Springer Nature Switzerland AG 2019 M.-S. Song, Hanguk Hip Hop, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-15697-8 182 BIBLIOGRAPHY

Benson, P. (2013). English and identity in East Asian popular music. Popular Music, 32(1), 23–33. Berggren, K. (2014). Hip hop feminism in Sweden: Intersectionality, feminist critique and female masculinity. European Journal of Women’s Studies, 21(3), 233–250. Billboard Korea K-Pop Hot 100. Billboard. Retrieved April 4, 2014 from http://www.billboard.com/charts/k-pop-hot-100. Born, G. (2011). Music and the social. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. Cha, W., & , M. (2013a). Idol Maker, Bang Si-Hyuk. weiv. Retrieved from http://www.weiv.co.kr/archives/6408. Cha, W., & Choi, M. (2013b). Idol Maker, P-Dogg. weiv. Retrieved from http://www.weiv.co.kr/archives/6410. Cha, W., & Choi, M. (2013c). Idol Maker, Son Sung-Deuk & Kim Sung-Hyun. weiv. Retrieved from http://www.weiv.co.kr/archives/6413. Cha, Y., & Ko, J. (2015). Don Malik: The real underground scene starts now. Hiphopplaya. Retrieved from www.hiphopplaya.com/magazine/article/view. html?category &page 1&sort 1&num 16752. = = = = Chang, J. (1993). Race, class, confict and empowerment: On ice cube’s “Black Korea”. Amerasia Journal, 19(2), 87–107. Chang, K.-S. (2001). Compressed modernity and Korean family: Accidental plu- ralism in family ideology. Journal of Asian-Pacifc Studies, 9, 31–39. Cho, H.-J. (1998). Constructing and deconstructing Koreanness. In D. C. Gladney (Ed.), Making majorities: Constituting the nation in Japan, Korea, China, Malaysia, Fiji, Turkey, and the . Stanford: Stanford University Press. Cho, H. (2013). Bangtan boys are ‘hip-hop.’ Arena Magazine. Retrieved from http://navercast.naver.com/magazine_contents.nhn?rid 1636&contents_id = = 37477. Choe, H.-J. (2015, April 6). What is hip hop for P-type. Sports DongA. Retrieved from http://sports.donga.com/3/all/20150406/70540364/2. Choi, S. (2008, November 26). 2020, one out of fve children from multicultural families. Hankyoreh. Retrieved from http://www.hani.co.kr/arti/society/. Choi, J. B., & Maliangkay, R. (Eds.). (2014). K-pop: The international rise of the Korean . New York: Routledge. Condry, I. (2006). Hip-hop Japan: Rap and the paths of cultural globalization. Durham, NC: Duke University Press. Condry, I. (2007). Yellow b-boys, black culture, and hip-hop in Japan: Toward a transnational cultural politics of race. positions: asia critique, 15(3), 637–671. Cook, N. (2011). Music as performance. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. BIBLIOGRAPHY 183

Cornyetz, N. (1994). Fetishized blackness: Hip hop and racial desire in contem- porary Japan. Social Text, 41, 113–139. Everyone’s Mic. (n.d.). Retrieved from https://www.facebook.com/everyone smic?fref ts. = Feld, S. (1984). Communication, music and speech about music. Yearbook for Traditional Music, 16, 1–18. Fendler, U. (2017). Roots and routes: Hip-hop from South Korea. Kritika Kultura, 29, 188–213. Fink, R. (2006). Negotiating ethnicity and authenticity in Tokyo’s Club Harlem. In D. Basu & S. J. Lemelle (Eds.), The vinyl ain’t fnal: Hip Hop and the glo- balization of black popular culture. Ann Arbor, MI: Pluto Press. Fischer, D.-E. (2013). Blackness, race, and language politics in Japanese hip hop. Transforming Anthropology, 21(2), 135–152. , R. (2002). The rise of the creative class. New York: Basic Books. Forman, M. (2002). The ‘hood comes frst’: Race, space and place in rap and hip- hop. Middletown: Wesleyan University Press. Fraley, T. (2009). I got a natural skill…: Hip-hop, authenticity, and whiteness. The Howard Journal of Communications, 20, 37–54. Fuhr, M. (2017). Globalization and popular music in South Korea: Sounding out K-pop. New York: Routledge. Gerke, S., & Baek, S.-G. (2017). Hip hop culture, subculture, and the social and cultural implications: A comparative case study on hip hop culture among Germany, Korea and the USA. The Journal of the Korea Contents Association, 17(6), 362–381. Gupta-Carlson, H. (2010). Planet B-girl: Community building and feminism in hip-hop. New Political Science, 32(4), 515–529. Hall, S., Evans, J., & Nixon, S. (2013). Representation: Cultural representations and signifying practices (2nd ed.). London: Sage. Han, G.-S. (2014). K-pop nationalism: Celebrities and acting blackface in the Korean media. Continuum Journal of Media & Cultural Studies, 29(1), 2–16. Haraway, D. (1988). Situated knowledges: The science question in feminism and the privilege of partial perspective. Feminist Studies, 14(3), 575–599. Hare, S., & Baker, A. (2017). Keepin’ it real: Authenticity, commercialization, and the media in Korean hip hop. Sage Open. https://doi.org/10.1177/ 2158244017710294. Harkness, G. (2012). True school: Situational authenticity in Chicago’s hip-hop underground. Cultural Sociology, 6(3), 283–298. Harrison, A. K. (2008). Racial authenticity in rap music and hip hop. Sociology Compass, 2(6), 1783–1800. Hebdige, D. (1979). Subculture: The meaning of style. New York: Routledge. Hennion, A. (2011). Music and mediation: Toward a new sociology of music. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. 184 BIBLIOGRAPHY

Hesmondhalgh, D. (2011). Towards a political aesthetics of music. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. Hess, M. (2004). The rap career. In M. Forman & M. A. Neal (Eds.), That’s the joint!: The hip-hop studies reader. New York: Routledge. Ho, S.-L. (2012). Fuel for South Korea’s “global dreams factory”: The desires of parents whose children dream of becoming K-pop stars”. Korea Observer, 43(3), 471–502. Hobson, J., & Bartlow, D. (2008). Representin’: Women, hip-hop, and popular music. Meridians: Feminism, race, transnationalism, 8(1), 1–14. Howard, K. (2006). Korean : Riding the wave. Folkestone, Kent: Global Oriental. Howard, K. (2010). Kukak fusion and the politics of Korean musical consump- tion. In L. Kendall (Ed.), Consuming Korean tradition in early and late modernity: Commodifcation, tourism and performance. Honolulu: University of Hawaii Press. Jackson, J. L., Jr. (2005). Real emcees. In Real black: Adventures in racial sincer- ity. Chicago: University of Chicago Press. Jenkins, H. (2013). Spreadable media: Creating value and meaning in a net- worked culture. New York: New York University Press. Jerry.k. (2012, December 27). On making #18 We All Made Us (featuring Paloalto, The Quiett, Deepfow & Dok2). JerrykMusic.com. Retrieved from jerrykmusic. blogspot.kr/2012/12/18-we-all-made-us-feat-paloalto-quiett.html. Jin, D. Y. (2007). Reinterpretation of cultural imperialism: Emerging domes- tic market vs continuing US dominance. Media, Culture & Society, 29(5), 753–771. Joo, J. (2011). Transnationalization of Korean popular culture and the rise of “pop nationalism” in Korea. The Journal of Popular Culture, 44(3), 489–504. , D. G. (Director). (2011). Too old hip hop kid [Documentary]. South Korea: Cinema DAL. Jung, E.-Y. (2006). Articulating Korean youth culture through global popular musical styles: Seo Taiji’s use of rap and metal. In K. Howard (Ed.), Korean pop music: Riding the wave. Folkestone, Kent: Global Oriental. Jung, S. (2010). Korean masculinities and transcultural consumption. Hong Kong: Hong Kong University Press. Katz, M. (2010). Capturing sound: How technology has changed music. Berkeley: University of California Press. Kendall, L. (2001). Under construction: The gendering of modernity, class, and consumption in the Republic of Korea. Honolulu: University of Hawaii Press. Keyes, C. L. (2000). Empowering self, making choices, creating spaces: Black female identity via rap music. The Journal of American Folklore, 113(449), 255–269. BIBLIOGRAPHY 185

Kim, B.-H. (2015, March 24). Rap Monster. Hiphopplaya. Retrieved from http://hiphopplaya.com/magazine/article/view.html?category &catego- = ry2 &mode &page 1&sort &num 16604&keyfeld &key %EB%9E%A ======9%EB%AA%AC%EC%8A%A4%ED%84%B0. Kim, B.-H. (2015, May 25). On closing season 2 of Everyone’s Mic. Everyone’s Mic. Retrieved from https://www.facebook.com/everyonesmic?fref ts. = Kim, E.-S. (2004). Itaewon as an alien space within the nation-state and a place in the globalization era. Korea Journal, 44(3), 34–64. Kim, J. K. (2015). Yellow over Black: History of race in Korea and the new study of race and empire. Critical Sociology, 41(2), 205–217. Kim, K.-H. (2004). The remasculization of Korean cinema. Durham, NC: Duke University Press. Kim, P. H. (2016). Hybridity of cultural nationalism in Korean popular music: From saeui chanmi to jeongtong hip-hop. Korean Journal of Popular Music, 18, 218–245. Kim, S.-Y. (2018). K-pop live: Fans, idols, and multimedia performance. Redwood City, CA: Stanford University Press. Kim, T. (2003). Neo-confucian body techniques: Women’s bodies in Korea’s consumer society. Body & Society, 9(2), 97–113. Kim, Y. (2011). Idol republic: The global emergence of girl industries and the commercialization of girl bodies. Journal of Gender Studies, 20(4), 333–345. Kim, Y.-H. (2015). Semantic network of Korean pop songs: Changing mean- ing structure from 1960’s to 2000’s. Journal of Popular Narrative, 21(1), 145–171. Kim, A. E., & Park, G.-S. (2003). Nationalism, confucianism, work ethic and industrialization in South Korea. Journal of Contemporary Asia, 33(1), 37–49. Kim, P. H., & Shin, H. (2010). The birth of “Rok”: Cultural imperialism, nationalism and the globalization of rock music in South Korea. positions: asia critique, 18(1), 199–230. Kim, S., & Hong, J.-Y. (2017). Jigeum yeogi hipap. Seoul: Threechairs. Kim, T. Y., & Kim, K. D. (2017). The present and future task of Korean under- ground hip-hop from a perspective of Show Me the Money. The Journal of the Humanities for Unifcation, 71(9), 139–167. Kim, Y., et al. (2008). Hanguk hip-hop: Yeuljeongeui baljachui [Korean hip-hop: Footsteps of passion]. Seoul: Hanul Books. K-pop. Wikipedia. Retrieved April 4, 2014 from http://en.wikipedia.org/ wiki/K-pop. Krims, A. (2011). Music, space and place: The geography of music. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. KTO. (2013, May). Hongdae (Hongik University Street). Retrieved from http:// www.visitkorea.or.kr/enu/SI/SI_EN_3_1_1_1.jsp?cid 1326972. = 186 BIBLIOGRAPHY

KTO. (2016, February). Garosugil. Retrieved from http://english.visitkorea. or.kr/enu/SH/whereToShop/whereToShop.jsp?action about&cid = = 995829. Kun, J. (2005). Audiotopia: Music, race, and America. Berkeley: University of California Press. Kurian, G. (2013). Chaebol. In The AMA Dictionary of Business and Management. New York: AMACOM Publishing Division of the American Management Association. Retrieved from https://libproxy.usc.edu/login? url //search.credoreference.com.libproxy2.usc.edu/content/entry/ = amadictbm/chaebol/0. Lee, B.-J. (2010). A study of the self-help discourses and the practices of the self of the young employees in Korea (Doctoral dissertation). Retrieved from USC Libraries Integrated Document Delivery. Lee, H. (2007, March 29). Yoon Mirae, I love music but if my album fails, I can’t pay my rent. No Cut News. Retrieved from http://www.nocutnews. co.kr/news/270746. Lee, J. (2009). Open mic: Professionalizing the rap career. Ethnography, 10(4), 475–495. Lee, J. S. (2004). Linguistic hybridization in K-pop: Discourse of self-assertion and resistance. World Englishes, 23(3), 429–450. Lee, J. S. (2010). Glocalizing keepin’ it real: South Korean hip-hop playas. In M. Terkouraf (Ed.), The languages of global hip hop. London: Bloomsbury Academic. Lee, J. S. (2011). Globalization of African American vernacular English in popu- lar culture: Blinglish in Korean hip hop. English World-Wide, 32(1), 1–23. Lee, M. (2008). Mixed race peoples in the Korean national imaginary and family. Korean Studies, 32, 56–85. Lee, M. O. (2006, November 9). Is hip hop only about sex, money, and boast- ing?. OhmyNews. Retrieved from http://www.ohmynews.com/NWS_Web/ View/at_pg.aspx?CNTN_CD A0000372356. = Lee, M.-Y. (2004). The landscape of club culture and identity politics: Focusing on the club culture in the Hongdae area of Seoul. Korea Journal, 44(3), 65–107. Lee, S. (2012). The structure of the appeal of texts. Korea Observer, 43(3), 447–469. Lee, Y. (2015). Labor after neoliberalism: The birth of the insecure class in South Korea. Globalizations, 12(2), 184–202. Lee, B.-H., & Kim, J.-S. (2012). A causal analysis of youth inactiveness in the Korean labor market. Korea Journal, 52(4), 139–165. Lee, C., & Kim, J. (2015). An exploratory study on authenticity of hip hop in Korea: A case of 『Show Me the Money 3』. Journal of Culture Industry, 15(2), 125–132. BIBLIOGRAPHY 187

Lee, S. M., & Yoo, S. (1987). The K-type management: A driving force of Korean prosperity. Management International Review, 27(4), 68–77. Lie, J. (2012). What is the K in K-pop?: South Korean popular music, the culture industry, and national identity. Korea Observer, 43(3), 339–363. Lie, J. (2014). K-pop: Popular music, cultural amnesia, and economic innovation in South Korea. Berkeley: University of California Press. Lorber, J. (1993). Believing is seeing: Biology as ideology. Gender and Society, 7(4), 568–581. McLeod, K. (1999). Authenticity within hip-hop and other cultures threatened with assimilation. Journal of Communication, 49(4), 134–150. McTaggart, N., & O’Brien, E. Seeking liberation, facing marginalization: Asian Americans and Pacifc Islanders’ conditional acceptance in hip-hop culture. Sociological Inquiry, 87(4), 634–658. Morelli, S. (2002). Who is a dancing hero? Rap, hip-hop and dance in Korean popular culture. In T. Mitchell (Ed.), Global noise: Rap and hip-hop outside the USA. Middletown: Wesleyan University Press. Nelson, L. (2000). Measured excess: Status, gender, and consumer nationalism in South Korea. New York: Columbia University Press. Oh, C., & Oh, D. C. (2017). Unmasking queerness: Blurring and solidifying queer lines through K-pop cross-dressing. The Journal of Popular Culture, 50(1), 9–29. Osumare, H. (2009). Beat streets in the global hood: Connective marginalities of the hip hop globe. Journal of American & Comparative Cultures, 24(1–2), 171–181. Park, A.-K. (2003). Rap, imported culture and cultural tradition. Journal of Korean Oral Literature, 16, 91–118. Park, H.-T. (2015a, March 13). Tymee, , Lil Cham real talk #3: For those who don’t know hip hop. Ilgan Sports. Retrieved from http://isplus. live.joins.com/news/article/article.asp?total_id 17347232. = Park, H.-T. (2015b, March 13). Tymee, Cheetah, Lil Cham real talk #4: A very sensitive issue on Yoon Mirae. Ilgan Sports. Retrieved from http://isplus.live. joins.com/news/article/article.aspx?total_id 17347233. = Park, H.-T. (2015c, March 13). Tymee, Cheetah, Lil Cham real talk #1: Cheetah, Why do we fght? Because we are women. Ilgan Sports. Retrieved from http://isplus.live.joins.com/news/article/article.aspx?total_id 17347230. = Park, J. (2015, May 23). Rap Monster, what does it mean for an idol to release a mixtape. weiv. Retrieved from http://www.weiv.co.kr/archives/20480. Park, J. (2016). Rap as Korean rhyme: Local enregisterment of the foreign. Journal of Linguistic Anthropology, 26(3), 278–293. Park, S. (2015, February 13). Pretty rapstar, Jimin: Please take idols seriously. 10 Asia. Retrieved from http://tenasia.hankyung.com/archives/442017. 188 BIBLIOGRAPHY

Park, I. H., & Cho, L.-J. (1995). Confucianism and the Korean family. Journal of Comparative Family Studies, 26(1), 117–134. Perry, I. (2004). Prophets of the hood: Politics and poetics in hip hop. Durham, NC: Duke University Press. Rose, T. (1994). Black noise: Rap music and black culture in contemporary America. Middletown: Wesleyan University Press. Sasha. (2014, February 25). Korean hip hop interview: Jolly V. Beyond Hallyu. Retrieved from http://beyondhallyu.com/music/korean-hip-hop-interview- jolly-v. Schober, E. (2014). Itaewon’s suspense: Masculinities, place-making and the US Armed Forces in a Seoul entertainment district. Social Anthropology [Anthropologie Sociale], 22(1), 36–51. Seabrook, J. (2012, October 8). Factory girls: and the mak- ing of K-pop. The New Yorker. Retrieved April 4, 2014 from http://www. newyorker.com/reporting/2012/10/08/121008fa_fact_seabrook. Seo, D. J. (2009). Children’s literature in the new world: Self-development liter- ature. Changbi Review of Children’s Literature, 7(2), 212–218. Seol, D.-H. (2010). Which multiculturalism? Discourse of the incorporation of immigrants into Korean society. Korean Observer, 41(4), 593–614. Shim, D. (2006). Hybridity and the rise of Korean popular culture in Asia. Media, Culture & Society, 28(1), 25–44. Shim, J.-H. (2015). Rap Monster’s real story. Singles. Retrieved from http:// www.thesingle.co.kr/common/cms_view.asp?channel 451&subChannel = = 453&idx 8493. = Shin, G.-W. (2006). Ethnic nationalism in Korea: Genealogy, politics and legacy. Stanford: Stanford University Press. Shin, H. (2005). The cultural politics of ‘K-pop’ in the era of transregional cul- tural traffcs. Media and Society, 13(3), 7–36. Shin, H. (2009). Have you ever seen the ? And who’ll stop the Rain?: The globalizing project of Korean pop (K-pop). Inter-Asia Cultural Studies, 10(4), 507–523. Shin, H. (2011). The success of hopelessness: The evolution of music. Perfect Beat, 12(2), 147–165. Shin, H., & Lee, S.-A. (Eds.). (2016). Made in Korea: studies in popular music. New York: Routeledge. Shin, K.-Y., & Moon, S.-Y. (2012). Class and Spec Competition. Proceedings of the 2012 Korean Sociological Association Conference (pp. 81–96). Shin, S. I., & Kim, L. (2013). Organizing K-pop: Emergence and market mak- ing of large Korean entertainment houses, 1980–2010. East Asia, 30(4), 255–272. Shin Yoon, D. W. (2004, October 13). K-pop is international. The Hankyoreh. Retrieved from http://news.naver.com/main/read.nhn?mode LSD&mid s = = ec&oid 036&aid 0000006335&sid1 001. = = = BIBLIOGRAPHY 189

Show Me the Money 5. (2016, February). Retrieved from www.show- methemoney5.com. Small, C. (1998). Musicking: The meanings of performing and listening. Middletown, CT: Wesleyan University Press. Smirnoff Korea District: Hongdae? Itaewon? What is your choice? (2012, December 5). Retrieved from http://youtu.be/WveShou6JSQ. Smith, C. H. (2004). I don’t like to dream about getting paid: Representations of social mobility and the emergence of the hip-hop mogul. In M. Forman & M. A. Neal (Eds.), That’s the joint!: The hip-hop studies reader. New York: Routledge. Song, M.-S. (2014). The S(e)oul of hip-hop: Locating space and identity in Korean rap. In Y. Kuwahara (Ed.), The Korean wave: Korean popular culture in global context. New York: Palgrave Macmillan. Speers, L. (2017). Hip-hop authenticity and the London scene: Living out authen- ticity in popular music. New York: Routledge. Spradley, J. P. (1980). Participant observation. New York: Hold, Rinehart and Winston. Starr, L., & Waterman, Christopher. (2006). American popular music: From min- strelsy to Mp3. New York and Oxford: Oxford University Press. Steers, R. (1999). Made in Korea: Chung Ju Yung and the rise of Hyundai. New York: Routledge. Stokes, M. (2004). Music and the global order. Annual Review of Anthropology, 33, 47–72. Straw, W. (2011). Music and material culture. In M. Clayton, T. Herbert, & R. Middleton (Eds.), The cultural study of music: A critical introduction. New York: Routledge. Strohmaier, J. (2009). Northeast Asian culture in a hip-hop world. Journal of Northeast Asian Cultures, 18, 491–506. Strohmaier, J. (2011). From global to glocal: The evolution of popular music culture in Northeast Asia. Journal of Northeast Asian Cultures, 26, 635–650. Sung, K.-T. (1995). Measures and dimensions of flial piety in Korea. The Gerontologist, 35(2), 240–247. Sung, Y., & Kim, H.-J. (2015). Hip-hop feld, hip-hop authenticity, and sym- bolic struggle: A case study on Control war in South Korea and the United States. Culture & Society, 18(5), 169–214. Sutton, R. A. (2011). ‘Fusion’ and questions of Korean cultural identity in music. Korean Studies, 35(1), 4–24. Taylor, T. (2007). Beyond exoticism: Western music and the world. Durham, NC: Duke University Press. Terkouraf, M. (Ed.). (2010). The languages of global hip hop. London and New York: Continuum. Thomas, D. L. (2016). Niggers and Japs: The formula behind Japanese hip- hop’s racism. Social Identities, 22(2), 210–225. 190 BIBLIOGRAPHY

Thornton, S. (1996). Club cultures: Music, media and subcultural capital. Middletown: Wesleyan University Press. Um, H.-K. (2013). The poetics of resistance and the politics of crossing bor- ders: Korean hip-hop and ‘cultural reterritorialisation’. Popular Music, 32(1), 51–64. Wang, O. (2007). Rapping and repping Asian: Race, authenticity and the Asian American MC. In M. T. Nguyen & T. L. Nguyen Tu (Eds.), Alien encounters: Popular culture in Asian America. Durham, NC: Duke University Press. Watson, I. (2012). Paradoxical multiculturalism in South Korea. Asian Politics & Policy, 4(2), 233–258. Wanted Lab. (2018, July 26). Go lifework 100 series: Unpretty Rapstar’s Lil Cham, Qualson [Blog post]. Retrieved from http://naver.me/xdAWPn08. Wong, D. (2000). The Asian American body in performance. In R. Radano & P. V. Bohlman (Eds.), Music and the racial imagination. Chicago: University of Chicago Press. Woo, S.-H., & Park, K.-I. (2007). Palsippal manwon sedae. Seoul: Redian. Yang, M. (2008). After sa-i-ku: Korean American hip-hop since the Rodney King uprising. In California polyphony, Ethnic voices, musical crossroads. Champaign: University of Illinois Press. Yang, W. S. (2012). The formation of Korean rap and development of K-pop. Musicology, 23, 125–156. Yoon, I.-J. (2011). The development and future tasks of multiculturalism in Korean society. Multiculturalism in Korea on a Journey to Its New Paradigm, 91–126. Yoon, K. (2014). Transnational youth mobility in the neoliberal economy of experience. Journal of Youth Studies, 17(8), 1014–1028. Yun, K.-E. (1997, May 13). Gangnam is hip hop, Gangbuk is retro. DongA Ilbo. Retrieved from http://newslibrary.naver.com/viewer/index.nhn?articleId = 1997051300209117001&edtNo 45&printCount 1&publish- = = Date 1997-05-13&offceId 00020&pageNo 17&printNo 23535&pub- = = = = lishType 00010. =

Discography B-Free. (2010). Where you at? (featuring R-EST and ). On Freedum [CD]. Seoul: CJ E&M. Chapter2. (2006). Hello, we are the minyeo duo Chapter2. On Minyeo Hip Hop [CD]. Seoul: . . (2015). Frankenstein (Dirty Rap City). On I’m not a pigeon [EP]. Seoul: Loen Entertainment. DJ Soulscape. (2014). Unpack your bags (original) [Recorded by Rap Monster]. Dok2. (2011). I am what I am. On Hustle real hard [CD]. Seoul: Hiphopplaya. BIBLIOGRAPHY 191

Dok2. (2013a). 100%. On South Korean rapstar mixtape [CD]. Seoul: Genuine Music. Dok2. (2013b). Rap star. On South Korean rapstar mixtape [CD]. Seoul: Genuine Music. Dok2. (2013c). Realest shit ever. On South Korean rapstar mixtape [CD]. Seoul: Genuine Music. Dok2. (2013d). So real. On South Korean rapstar mixtape [CD]. Seoul: Genuine Music. Dok2 (2014). ChiGiChaGaChoGoCho. [Single]. Seoul: CJ E&M. Dok2, Beenzino, & The Quiett. (2011). Mr. Independent 2. On Hustle real hard [CD]. Seoul: Hiphopplaya. Dok2, Beenzino, & The Quiett. (2012). Profle. On 24:26 [CD]. Seoul: Genuine Music. Dok2, & The Quiett (2013). 2 Chainz & Rollies. On AMBITIQN [CD]. Seoul: CJ E&M. Garion. (2004). Yet iyagi [Old story]. On Garion [CD]. Seoul: Ales Music. Jazzyfact. (2011). Always Awake. [Single]. Seoul: Hiphopplaya. Jerry. K. (2012). We all made us (featuring Paloalto, The Quiett, Deepfow and Dok2). On True self [CD]. Seoul: Genuine Music. Rap Monster. (2013). Too much. Released on https://soundcloud.com/ bangtan/rap-monster-too-much. The Quiett. (2011). Came from the bottom. On Stormy Friday [CD]. Seoul: CJ E&M. The Quiett. (2013a). AMBITIQN. On AMBITIQN [CD]. Seoul: CJ E&M. The Quiett. (2013b). Tomorrow. On AMBITIQN [CD]. Seoul: CJ E&M. The Quiett. (2014). All About. On 1 Life 2 Live [CD]. Seoul: CJ E&M. Index

A Asian American, 45, 46, 48 Aegyo, 124, 164 Asian/Asianness, 13, 24, 47, 48, 50, Age, 3, 16, 17, 42, 43, 89, 95, 131, 51, 124, 126 148, 158, 160, 163 1997 Asian Financial Crisis (IMF), 6, Ambition Musik, 101, 117, 118 8, 11, 71, 98, 126 America, 2, 6, 11–13, 24, 30, 33, 34, Audience, 10, 14, 31, 32, 36, 50, 74, 36, 37, 39, 43, 45, 47–50, 57, 78, 86–88, 126, 127, 132, 133, 68, 83, 97, 102, 103, 105, 114, 149, 150, 157, 159, 161, 167, 137, 138, 146, 156, 172, 173 172 American Hustle Life, 25, 123, 134, Audition, 14, 70, 71, 84, 113, 123, 135, 137, 139 130, 131, 162, 171 Appearance, 25, 26, 95–98, 102, Authenticity, 4, 6, 7, 24, 25, 30, 105, 121, 135, 146, 153–155, 35–37, 39, 42, 45, 47, 48, 163–165 52–56, 65, 72, 76, 81, 101, 114, Armed Forces Korea Network 121–123, 128–131, 133, 135, (AFKN), 1, 3, 177, 178 137, 139, 142, 150, 152, 154 Artist, 2, 5, 8, 11, 12, 14–24, 26, 30– 33, 36, 38, 39, 41, 47, 54, 55, 57, 65, 66, 73, 74, 76, 78–83, B 85, 87, 88, 94, 100, 102, 104, Ballad rap, 38, 42, 53, 102, 104, 105 105, 112, 114, 115, 122, 128, Bang Si-Hyuk, 130, 131, 133 135, 140, 141, 145, 147–149, B-boying/B-girling, 2, 7, 10, 40, 127 151–153, 155–162, 172, 175, Beenzino, 7, 26, 96, 97, 100, 101, 176, 180 151, 176

© The Editor(s) (if applicable) and The Author(s), 193 under exclusive license to Springer Nature Switzerland AG 2019 M.-S. Song, Hanguk Hip Hop, East Asian Popular Culture, https://doi.org/10.1007/978-3-030-15697-8 194 Index

BewhY, 57, 176 70, 73, 74, 76, 77, 80–82, 84, B-Free, 76–78, 121, 122 87–89, 94, 98, 113, 126, 127, Big Hit Entertainment, 123, 129–131, 130, 134, 135, 139, 142, 146, 134 150, 153, 158, 162, 172–174 Black/blackness, 2, 4, 15, 16, 19, 34, 37, 40, 43–50, 105, 136, 141, 154, 156 D BLEX, 10, 11, 63–65, 68, 70 Deegie, 6–8, 71, 113, 176 Born Kim, 1, 2, 34, 37, 39, 40, 42, Deepfow, 3, 4, 33, 53, 80, 85, 121, 176 174, 176 BTS, 25, 121–123, 125, 129–141 DJ, 2, 7, 10, 11, 18, 32, 34, 40, 67, Buran, 7, 8, 96, 98, 113, 173, 174 85–87, 93, 140, 180 DJ Wreckx, 10, 32, 177 Dok2, 3, 7, 33, 54, 82, 86, 93, 94, C 96, 97, 99–105, 107–112, Chaboom, 36, 56, 176 114–118, 128, 177 Cheetah, 154, 156, 162, 164, 166 Don Mills, 121, 177 Choreography, 125, 127, 132, 134, Double bind, 25, 142, 146, 147, 155, 137, 139 165 Circulation, 5, 16, 38, 51, 67, 94, Double K, 43, 177, 179 116, 173 Drunken Tiger, 108, 176, 177, 179 CJ Entertainment & Media (CJ Duality, 25, 140, 141 E&M), 14, 84 Dynamic Duo, 97, 176, 178 Club Master Plan, 4, 10, 22, 38, 42, 63–66, 70, 71, 77 Code Kunst, 32, 176 E Collapse, 8, 173 Economy, 7, 95, 96, 98, 116, 117, Commodity, 5, 14, 39, 52, 164, 172 126, 173 Community, 2, 11, 17, 21, 24, 25, 40, Education, 17, 108, 109, 111, 113, 44–46, 48, 50, 63, 65, 67–70, 114, 117, 135, 168 74, 75, 78, 83, 84, 87, 111, 128, English, 7, 10, 17, 18, 21, 23, 31, 35, 130, 133, 139, 147, 148, 151, 36, 43, 50, 56, 57, 71, 89, 125 152, 156, 157, 160–162 Entertainment, 14, 41, 42, 53, 81, 88, Compressed modernity, 8, 126, 173 104, 105, 125, 128 Conditional authenticity, 25, 123, 142 Epik High, 97, 178, 179 Confucian/Confucianism, 37, 110, Everyone’s Mic, 39, 66, 85–88 111, 151, 155 Consumption, 2, 5, 16, 18, 23, 24, 38, 46, 64, 65, 67, 68, 72, 75, F 77–79, 97, 98, 107, 132, 173 Family, 8, 11, 12, 71, 95, 96, 105– Cultural production, 6, 7, 75, 173 107, 111, 116, 117, 140, 157, Culture, 1–3, 5, 7, 8, 10, 12, 14, 18, 167 20, 23, 24, 30, 31, 33–35, 37, Fan, 3, 10, 13, 16, 23, 44, 45, 52, 39–44, 48, 50, 52, 54–58, 68, 54, 55, 57, 64, 66, 67, 75, 81, Index 195

89, 93, 103, 107, 129, 132, 145, Hyeong, 10, 13, 16, 26, 36, 39, 40, 147, 149, 156, 160, 161 56, 63, 71, 108, 133, 159 Fana, 12, 14, 26, 177 Fashion, 10, 13, 16, 39, 40, 59, 72, 73, 77, 82, 127, 129, 173 I Filial piety (hyo), 110, 111, 116, 167 Identity, 2, 4, 5, 17, 31, 35, 36, Freedom, 54, 64, 74, 81, 82, 102, 41, 44, 47, 48, 50, 51, 64, 73, 121, 128, 141, 142 74, 76, 77, 81, 82, 96, 109, Freestyle, 22, 64, 78, 83, 87 123, 127, 129–131, 133–135, Frugality, 98, 103 140–142, 147, 148, 151, 157, 166, 168 Idol, 54, 121, 122, 128–130, 132, G 133, 135, 138, 140, 141 Gangnam, 56, 58, 59, 71, 72, 106 Idol groups, 10, 25, 38, 54, 122, 125, Garion, 15, 34, 36, 64, 66, 70, 71, 127, 129, 130 85, 86, 89, 178, 179 Idol rapper, 25, 54, 121–123, 128, Gayo, 33, 38, 39, 102, 133 129, 134, 140–142, 165 Gender, 5, 7, 17, 25, 45, 46, 51, 96, Ignito, 112, 116, 152, 177 98, 145–150, 152, 158, 173, 176 Illinit, 42, 43, 50, 55, 155, 177 Generation, 2, 3, 18, 41, 42, 46, 51, Illionaire Records, 4, 23–25, 42, 66, 79, 89, 95, 98 56, 58, 79, 80, 86, 94, 96, 97, Global, 2, 5, 6, 10, 19, 29, 30, 32, 33, 99–101, 103, 109, 112, 114, 35, 45, 47, 66, 124, 125, 127, 116–118 171–173 IMF, 11, 12, 71 Gohyang, 24, 65, 66, 83–85, 87 Industry, 25, 39, 43, 55, 86, 102, Graffti, 2, 7, 39, 40, 77, 82, 88 122, 127, 129, 132, 137, 146 Itaewon, 56, 71, 72, 77, 82, 105, 118

H Haja Center, 12, 13, 160 J Hallyu, 123, 125, 126, 154 Jaebeol, 112, 116, 117 Hanguk hip hop, 3–7, 24, 29–34, , 100, 128 36–38, 52, 57, 84, 102, 171–174 Jerry.k, 3, 4, 12, 13, 26, 34, 80, 158, Hash Swan, 3, 117, 151, 177 177 High School Rapper, 14, 41 , 162, 164–167 Hi-Lite Records, 4, 23, 55, 80 Jimin, 162, 164–166 Hip hop mogul, 118 JJK, 16, 22, 38, 39, 49, 67, 77, 177 Hongdae, 10, 22–24, 31, 41, 53–56, Jolly V, 21, 78, 79, 154, 156, 158, 64, 65, 68, 72–85, 87–89, 100, 162–165, 177 128, 131 J-pop, 123, 127 Huckleberry P, 22, 40, 177 Junggigo, 88, 177 Hybridity, 6, 45 JYP Entertainment, 126 196 Index

K 74, 76, 78, 81, 84, 85, 94, 97, Kayon, 158, 159, 177 103, 105, 106, 108–117, 124, Kebee, 12, 13, 114, 115, 153, 177 125, 129, 130, 133, 138, 140, Keem Hyo Eun, 117, 118, 178 145, 152, 160, 165 Korea, 1–8, 10–14, 16, 19, 24, 25, 29–31, 39–44, 48–52, 54, 55, 57, 64, 66–72, 74, 75, 80, 81, 83, M 89, 94, 96, 97, 104, 105, 107, Maniac, 21, 50, 153, 154, 178 109, 113, 124–126, 139, 145– Masculinities, 72, 128 147, 149, 151, 153, 155–157, MC Meta, 11, 12, 22, 32, 34, 36, 64, 159, 161, 166, 171–173, 176, 65, 68–70, 84, 87–89, 115, 116, 179 178 “Korean Dream”, 172 Media, 2, 3, 5, 14, 15, 40, 45, 53, Korean Hip Hop, 2–14, 18, 20–26, 55, 68, 74, 75, 78, 97, 112, 116, 29, 30, 32, 34–37, 39, 42–44, 122, 123, 125, 146, 151, 163, 47, 52–54, 56, 57, 64–67, 70, 166, 172 71, 73, 74, 76–79, 81–83, 88, Mixtape, 10, 23, 97, 100, 101, 109, 89, 99, 102, 103, 111, 113, 128, 116, 140, 141, 180 145, 146, 149, 154, 155, 160, Mnet, 14, 25, 87, 123, 135, 140, 146, 167, 172, 173, 177, 180 162, 171 Koreanness, 6, 29, 30, 48, 51, 154, Mobility, 76, 77, 94, 125 173 Money, 4, 11, 12, 14, 15, 25, 36, Korean Wave, 123, 126 82, 88, 94, 96, 101, 103–109, K-pop, 5, 16, 25, 33, 35, 38, 53, 54, 112–116, 133, 139, 159 58, 100, 102, 113, 121–131, MTV, 1, 3, 43 133–135, 141, 142, 162, 164, Multiculturalism, 51, 58 171

N L Naachal, 15, 16, 36–38, 64, 84, 89, Language, 2, 3, 5, 10, 17, 18, 23, 26, 178 29–31, 33–36, 38, 51, 54, 56, Nada, 161, 178 57, 89, 95, 96, 103, 125, 139, National, 5–8, 12, 14, 19, 23, 26, 29, 145, 172–174 51, 66, 71, 98, 104, 110, 124, Life timeline interviews, 19, 20, 23, 172, 173 180 Neoliberalism, 94 Lil Cham, 158, 162, 165–168, 178 Local, 5, 6, 13, 19, 29, 35, 66, 73, 80, 87, 114, 124, 157, 172, 173 O 1992 Los Angeles Riots, 15, 16 Olltii, 22, 34, 41, 83, 89, 152, 153, Lyrics, 2, 3, 19, 22, 23, 29–32, 34, 178 35, 38, 47, 56, 57, 65, 68–71, oppa, 26, 78, 79, 89, 158, 163 Index 197

Oral history, 22, 97 Rapstar, 25, 93, 96, 97, 100, 101, Overground, 54, 74, 128 105, 109, 112–114, 117, 165 Reality competition shows, 14, 41 Religion, 6, 71, 109, 110 P Representation, 25, 73, 95, 146, 163, Paloalto, 3, 4, 49, 50, 55, 114, 153, 164, 172 154, 178 Respect, 35, 36, 43, 44, 47, 86, 87, PC community, 10, 11, 64, 69, 106 111, 116, 135, 142, 156 Pento, 37, 76, 155, 178 Role model, 25, 147, 151, 155 Personal computer, 2, 3, 10, 24, 63–65, 67, 68 Place, 3, 7, 9, 22, 24, 54, 64–66, 72, S 73, 75–77, 80, 81, 84, 86–88, San E, 33, 50, 163, 165, 167, 179 137, 139, 153, 173, 176–179 Sang-A Records, 71, 106 Playground, 24, 65, 78–80 Scene, 10, 13, 14, 23, 25, 30, 35, Popular culture, 5, 14, 29, 51–53, 55, 38–40, 42, 48, 54, 55, 67, 72, 57, 65, 66, 74, 95, 97, 123, 126, 74–81, 84, 86–89, 99, 100, 102, 146, 168, 172, 173 104, 109, 111–114, 116, 117, Popular music, 2, 5, 6, 17, 44, 46, 69, 122, 126, 128, 130, 139, 140, 81, 97, 102, 122–127 146, 148, 149, 151, 152, 154, Production, 5, 18, 23, 24, 46, 54, 58, 156–159, 161, 163, 166, 167, 64, 65, 68, 75, 77, 78, 94, 123, 180 125, 126, 135, 136, 164, 173 Self-development, 24, 93, 96–99, 105, P-Type, 48, 80, 81, 113, 154, 178 108, 110, 112, 115, 118 Seo Taiji and Boys, 8, 10, 15, 69, 126, 176, 177, 179 Q Show Me the Money, 12, 14, 15, 26, 41, The Quiett, 3, 12, 13, 15, 16, 38, 79, 42, 53, 67, 75, 84, 88, 93, 105, 82, 86, 88, 96, 97, 99–107, 110, 113, 118, 151, 155, 162, 164, 114–118, 151, 152, 172, 176, 171, 172 179 Sinchon, 56, 63–65, 68, 71 Skill, 25, 36, 40, 54, 66, 75, 85, 86, 99, 114, 128, 134, 142, 147, R 150–152, 156, 163–165 Race, 5, 24, 30, 40, 42, 44–48, 50, Sleeq, 40, 81, 82, 153, 154, 158, 160, 51, 58, 109, 141, 142, 150 161, 179 Rap, 2–4, 6, 7, 10, 11, 13, 23, 33, 34, SM Entertainment, 126, 127 37, 39, 40 Social media, 19, 38, 67, 126, 173 Rap dance, 10, 53, 69, 102, 105, Sool J, 22, 80, 83, 179 126 Soul Company, 4, 12–14, 22, 23, 42, Rap Monster (RM), 25, 121–123, 79, 99, 102, 114 125, 129–131, 133, 134, 137, Sound, 5, 11, 12, 30–34, 37, 56, 57, 139–141, 165, 178 70, 75, 85, 86, 88, 153 198 Index

Space, 7, 11, 22, 24, 45, 47, 51, 54, Unpretty Rapstar, 14, 25, 41, 53, 146, 64–68, 72, 74–76, 78, 79, 85–88, 147, 156, 161–168 94, 128, 134, 141, 142, 153, 154, 173 Spec, 95, 96, 105, 109 V Street, 23, 29, 77, 81–83, 109 Vasco (Bill Stax), 16, 17, 36, 37, 115, Style, 6, 14, 25, 38–40, 44, 49, 164, 179 57, 70, 72–75, 101, 113, 116, Visibility, 25, 38, 74, 78, 93, 96, 100, 124–126, 133, 135, 136, 139, 105, 116, 123, 134, 145, 155, 147, 151, 153, 154, 171, 174 163, 168, 172, 174 Subculture, 13, 54, 64, 72, 73 Vismajor Company, 23, 157 System, 51, 54, 69, 86, 104, 113, 114, 123, 125–127, 131, 132, 147, 157 W Wutan, 41, 82, 84, 85, 157, 179

T Tablo, 31, 147, 179 Y Technology, 2, 10, 24, 65–67, 73, YG Entertainment, 54, 126, 133 117, 126 Yoon Mirae, 145, 151, 154–156, 163 Television, 1, 2, 12, 14, 25, 41, 53, Youth, 2, 3, 10, 12, 16, 29, 35, 49, 97, 100, 101, 104, 112, 123, 51, 54, 64, 67, 72, 73, 95, 96, 125, 126, 129, 135, 139, 141, 113, 117, 127, 131, 141 147, 163, 173 YouTube, 22, 38, 70, 72, 121, 124, Tiger JK, 21, 57, 145, 154, 179 130, 173 Training, 123, 125, 131–135, 165 Yuhaksaeng, 12, 71 Transnational, 19, 35, 48, 171, 172 Travel, 5, 6, 12, 18, 20, 76, 77, 109, 112, 173 Z Tymee, 155, 156, 162, 163, 165, 166, Zico, 5, 26, 123, 128, 179 168

U Underground, 12, 15, 24, 29, 38, 39, 49, 54, 65–67, 71–75, 77, 79, 85, 94, 109, 114, 121, 122, 128–130